Mylar Sculptures

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

THEMIS is a unique near life-scale sculpture by Laurence Le Constant exploring transformation, myth and hybrid identity. The work draws inspiration from the discovery of Homo floresi...

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

"We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

"I Worry About My Kids" is an original piece byJedediah Morfit made from fiberglass reinforced plaster, mixed media, and paint.This piece measures 62"h x 40"w x 5"d and comes with a ...

"Saint Vitus Architeuthis Manalishi with the Seven Tentacle Crown" by Hunter Stabler is an original ink and graphite on hand-cut paper layered piece mounted to plexiglass. The piece ships in the pictured wood frame and measures 44"h x 44"w. Hunter Stabler was born in Jefferson City, Missouri and was raised in upstate South Carolina. He received a BFA in painting from The Maryland Institute, College of Art and an MFA in painting from the University of Pennsylvania. He is currently pursuing an MFA in Digital Art at Louisiana State University. His work has been widely exhibited across the United States and internationally including exhibitions at the Morbid Anatomy Museum in Brooklyn, NY, The Shelburne Art Museum in Shelburne, VT, the Hunterdon Art Museum in Clinton, NJ, and the Islip Art Museum in East Islip, NY. His hand-cut paper artwork has been published in the books High Touch: Tactile Design and Visual Explorations, Push Paper, Strangers in the Nest (a book of Poems by Anselm Berrigan, Letterpress printed with images accompanying each poem), and published in Laminate Magazine, First Look Magazine, and American Craft Magazine. He was named “Philadelphia’s Next Hot Artist...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

Jenny Day (b.1981) is a painter and sculptor who lives in Santa Fe, New Mexico. She earned an MFA in Painting from the University of Arizona, a BFA in Painting from the University of...

Bone China emerged as a reflection on the relationship between synthetic and organic aesthetic properties. By fusing the two, Ramsay has attempted to create...

Bone China emerged as a reflection on the relationship between synthetic and organic aesthetic properties. By fusing the two, Ramsay has attempted to create...

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

Jenny Day (b.1981) is a painter and sculptor who lives in Santa Fe, New Mexico. She earned an MFA in Painting from the University of Arizona, a BFA in Painting from the University of...